video/performance/installation since 2001
Steven Ball


(click on the title for information and streaming video where available)

Personal Electronics
video & spoken word performance, 2008/video 2010
Aboriginal Myths of South London video, 10:27, 2010
Over Magnetic Island video, 2:39, 2009
Over the Borough Island
video, 1:52, 2009
After Lethaby
video performance and installation collaboration with Martin Blazicek, 2009
Aroundabout: Second Person Present
installation and expanded performance, 2009
The Ground, the Sky and the Island
video, 7:47, 2008
Direct Language videoblog 2005 - 2007
Neither There Nor Here Storm Bugs video performance with Philip Sanderson, Saturday 1st September, 2007, The Foundry, Shoreditch, London
No-way Street
video, 1:00, 2007
video performance collaboration with Martin Blazicek, 2006
The War on Television
video and performance, durations vary, 2004
The Defenestrascope
video, 5:40, 2003
video, 26:37, 2003
Phase Space Pacer
video, 2:30, 2002
the next six minutes
video, 6:12, 2002
video, 6:39, 2002
Local Authority video, 8:00, 2001
Sevenths Synthesis
video, 6:20, 2001

Direct Objective
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videoworks | exhibitions

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Sevenths Synthesis 6:20, 2001

Animated abstracted synthetic sound-to-image/image-to-sound digital materialist parsing experiments collide with trad pagan Beltane folk dance remixed Seven Step Polka in fragmentary, fractured and fast digital scratch mix. A hybrid of materialist and spatial exploration.

The video begins with very short snatches from a combination of colourful abstracted sequences and a grainy low light night time shot through a distant window, with a television flickering behind translucent curtains. The sound is glitchy and fragmented. These sequences gradually become longer until images of traditional English dancers appear set to sampled traditional music. Gradually these dancing shots come to dominate flickering alternating single frame cutting with the previous images. The piece winds down as the short abstracted sections again become shorter and fragmented, echoing the beginning of the piece.

FACT Liverpool, UK, May 2006
• S1 Salon S1 Artspace, Sheffield, UK, February 2005
25hrs, Barcelona, Spain, May 2003
• UK-Canada Video Exchange, South London Gallery, London, UK, April 2003
3e Festival des Cinémas Différants, Paris, France, December 2001
Cinema Auricular, Elektronic, Barbican Centre, London, U.K, October 2001
• Waste, Experimenta Media Arts, Nova Cinema, Melbourne, Australia, October 2001

Local Authority 8:00, 2001
remixed as
ex Local Authority 7:00, 2005
The fidgety movement of objects in the view from the window, which belies the uneasy stillness of the scene, is the scrubbing of the video track improvising a soundtrack of scratch manipulation of midi audio. Local Authority is punctuated by a montage of snatched read selections from London County Council's 1950s publication Tenants' Handbook provides a shifting refrain in this song portrait of a 1920s housing estate.

Melbourne Cinematheque, Australia, March 2011
Kinetic Fields, Chisenhale Dance Space, London, May 2006
Read more at Spherical Objective
Videoex, Zurich, Switzerland, May 2002
3e Festival des Cinémas Différants, Paris, France, December 2001

Beamer 6:39, 2002 Minimalist video exploits spatial/temporal relationship and viewer expectation in a drama of tension and release.

World Wide Video Festival, Amsterdam, The Netherlands, May 2003
back_up, Weimar, Germany, November 2002
Stille Nacht, Outlet Gallery, Manchester, August 2009

Beamerlooper, a version of Beamer reworked as a 2 minute loop, is included on the looppool DVD published by Raum für Projektion, commissioned by the 2005 Oberhausen Short Film Festival. Read more at Spherical Objective

Club Transmediale, Berlin, 6th February 2006
• Raum fuer projektion & Deutz Air, Cologne, January 2006
International Film Festival Rotterdam, January - February 2006
• Blindemuur, Chaseé Theater Breda, January 2006
• Kunstverein Wolfsburg, November 2005
• Lounge der Internationalen Kurzfilmtage Oberhausen, with Adam Butler (live), May 2005

the next six minutes 6:12, 2002
Inner-city London on a Sunday in March, the view from the twenty-first floor collides with sound to image to sound experiments in a fast rhythmic mix. Becoming a fragmented montage as digital aphasia collapses into abstracted spatio-temporal articulation.

The video is divided into 3 roughly unequal sections. Each is prefaced by a scratched/scrubbed sequence of the dvmaker saying something, however due to the scrubbing only a few gasps of words emerge. These are then followed by rhythmic, repetitive and energetic scratched images of the exterior inner-urban landscape and colourful abstraction. The editing is very fast, often single frame, building rhythms through repetitive and shifting looping passages. The sound utilises the clicks and whirrs of digital inteference. The overall effect is as much musical as it is narrative, indeed sound plays an integral and equal role to the image.

Pulsar Caracas, Venezuela, October 2006
• Take 291, 291 Gallery, Hackney, UK, September 2005
Rencontres Internationales Paris, France & Berlin, Germany, February/November 2003.
Lux Open, London, UK, April 2003

Phase Space Pacer 2:30, 2002
Multitrack black and white rotating microdots, plus layered time shifted granulated electro fuzz music, equals temporal spatial phasing, in an intense stroboscopic digital abstraction.

Impakt, Utrecht, The Netherlands, June 2003
• Tagawa International Short Film Festival, Japan, June 2002

Metalogue 26:37, 2003
Passing through tunnels and foyers; on trains, buses and ferries; in elevators, airports and city streets - transitory environments. Metalogue is a travelogue that uses formal techniques to explore spatio-temporal resonance and phenomena. Interspersed with interludes that combine digital excess, abstracted text and voice reciting information relating to the digital video material, and collages of public announcements. Pursuing the notion that the normally backgrounded or hidden information, instructional, metadata and other quotidian media, rising through the digital database editing logic, becomes part of the poetical structure and language in an intermediate realm between description and material.

Melbourne Cinematheque, Australia, March 2011
Index Generator 2, ReverberAções São Paulo, Brazil, November 2006
Directors Lounge, Berlin, 11th February, 2006
• exposure, Lux, Candid Arts Trust, Islington, London
September 2004
VIPER, Basel, Switzerland, 21 to 25 November, 2003
(...(a) video poem pervaded by the smell and taste of metal. - VIPER catalogue)

The Defenestrascope 5:40, 2003

The Defenestrascope throws the view through windows from monumental towers, in contemporary and medieval European city and town. This eccentric exploration of urbanised space revolves around a sample ensemble setting of the traditional 16th century Norfolk song ‘Go from the Window’, framed by a fragmented clapping rhyme. A neo-rococo vaudevillian romp dedicated to Alan Lomax and Gus Elen.

go from the window, throw from the window
downsteps upstairs, upsteps downstairs
down in the street, out in the street
the wind is in the west, the cuckoo's in the nest
along the canal, down from the torre
bicycle piazza, amphitheatre
through the agora, crossing the ringroad
a ladder and some glasses, a rope and a pulley
crossing the platz, along the strasse
out of the window, down from the window

• STILL, St Constantine and St Helen Greek Orthodox Church, Crystal Palace, London, March 2004.
Seoul Net & Film Festival
Seoul, South Korea, September 2004
Rencontres Internationales Paris/Berlin
28th October to 7th November 2004, Paris, France
PureScreen 6: Phantasmagoria
Manchester, November, 2004
• Take 291, 291 Gallery, Hackney, UK, September 2005
• Luz y Tiempo, La Enana Marrón, Madrid, Spain, November/December 2006
Topos - The Moving Image between Art and Architecture, Slade School of Fine Art, London, December 2006
Dark & Daring, Ipswich, March, 2007
• Cicle Documental, La Transformació de les Ciutats, Mediateca, CaixaForum, Barcelona, Spain, May 2007
• Little Jewel Sapphire Season, Waygood Gallery & Studios, Newcastle, UK, June/July 2007
A Hidden History, BFI Southbank, London,
Sunday 2 September,
InCounter, Peckham, UK, March 2011
Melbourne Cinematheque, Australia, March 2011

The Defenestrascope is included on the PureScreen DVD *01 produced by Castlefield Gallery, Manchester, UK. The DVD has screened at the following:
Radiator Festival, Nottingham, 4 December 2005
Residence Gallery, London, 18 November 2005
Side Cinema, Newcastle, 18 October 2005
Antimatter Film Festival, Victoria, British Columbia, Canada, September 2005
Itau Culture, Brazil, 17 August, Belo Horizonte and 24th August 2005, Porto Alegre
• Catalyst Arts Video, Belfast, Northern Ireland, 28 July 2005
Slack Video, Hull, 13 June 2005

also available from LUX

The War on Television durations vary, 2004
Breaking news

The War on Television is made almost entirely from images derived from interference fractured digital television broadcasts. These are randomly processed and manipulated through layers of scratch techniques exaggerating the stuttering fragmentation.

The pristine digital veneer, the authority and reliability of the always-on 24 hour news channel fucked-up, becoming abstracted into a flow of jarring noise and stammering incoherence. A celebration of digital anti-aesthetics, excess and entropic fallibility.

Hull International Short Film Festival Hull, UK, Sunday July 2005. The War on Television appeared on the 'BBC Big Screen' in the centre of Hull during the film festival. See it on the 'Big Screen'.
Rencontres Internationales Paris/Berlin, Paris, France, 15 - 27 November, 2005
New Lands, curated by William Fowler, BFI Southbank, London, UK, June 2007 Download complete New Lands programme PDF
The End of Television, The Nerve, Pittsburgh, PA, USA, June 2009
InCounter/Artkillart, .HBC, Berlin, Germany, March 2010
Melbourne Cinematheque, Australia, March 2011
Glitch vs Scratch, San Franscisco, October 2011

• The Wormhole Saloon, Whitechapel Art Gallery, London, UK, Friday 11 November, 2005: The War on Television (improv Freeview remix) performed by Steven Ball (video) and Tom Wallace (sound).

Read more about The War on Television at Spherical Objective

video performance collaboration with Martin Blazicek (Czech Republic),
17th November 2006

Live streaming video performance, with Martin Blazicek at KP Skolská 28 in Prague and Steven Ball at Central St Martins College of Art and Design in London, using KeyWorx software to manipulate the video in each city, projecting simultaneously in both.
Live recording of the performance on Google Video

No-Way Street 1:00 (sound)/7:00 (silent for installation), 2007
Cordoned areas and blocked streets have become an increasingly common occurrence in urban centres. The strategy of producing public spaces of exception disrupts the pedestrian's everyday practice of writing the city. As regular pathways are rerouted along side streets and down unfamiliar alleys, the city starts to become a strange place, a more abstracted experience. No-way Street enacts the discombobulating effect of such orientation realignment through a series of multiple short video and audio loop sequences of blocked streets, diverted pedestrians and police cordons, constructed as a spatial and temporal matrix.

One Minute Volume 1
cogcollective, London, UK, 3 June, 2007
Contact Theatre, Manchester UK, 16 October 2007
NoD, Prague, Czech Republic,
21 October 2007
Directors Lounge, Berlin, Germany, February 2008
Hull International Short Film Festival, April 2008
• Hornsey Town Hall, London, June 2008
cogcollective, Daylesford, Australia, July 2008

Melbourne Cinematheque, Australia, March 2011

Post-Cinema, RMIT Project Space, Melbourne, Australia,
24th September - 19 October 2007

The Ground, the Sky and the Island 7:45, 2008
This video reworks photographs, super 8 film, sound and anecdotal text from a series of bush and outback locations across Australia during the 1990s. It takes the form of extracts from an imagined first person journal, layered over extruded experiments with composition and movement constructing a synthetic shifting landscape. Moving through discrete but related sections, the abstracted view shifts vertically through 90 degrees between the closeness of the local, the ground, and the claustrophobia of the distant colonizing horizon. As it travels east from the South Australian desert, through bush, tablelands and rocky range, the video becomes a subjective essayistic meditation, in absentia, on being in the landscape, the problem of attempting to reproduce these landscapes and the uncertainty of their representation. At its inconclusion we arrive on K'gari (Fraser Island off the coast of Queensland) where we reach the edge of the known world, a space being made in an open future.

Figuring Landscapes:
ArtSway, Sway Hampshire, UK, 25 - 30 November 2008
Tate Modern, London, UK, 7 February, 2009
Dundee Contemporary Arts, UK, 23 - 27 February, 2009
FACT, Liverpool, UK, 23 - 25 Feb & 2 - 4 March, 2009
Vivid, Birmingham, UK, 25 - 28 February, 2009
Ivan Dougherty Gallery, Sydney, Australia, 2 April - 2 May
Glimmer, The 7th Hull International Short Film, UK, 21 - 26 April, 2009
Chapter Arts Centre, Cardiff, UK, 3, 10, 17, 24, 27 May, 2009
Site Festival, Stroud Valley Artspace, UK, 2, 9, 16, 23 and 30 June, 2009
Gallery of Modern Art, Brisbane, Australia, 10 - 12 July, 2009
Mermaid Arts Centre, Bray, Co. Wicklow, Ireland, 17, 24 and 26 September, 2009
Cinecity - Brighton Film Festival 19 November - 6 December, 2009
Melbourne Cinémathèque, Australia, 31 March and 7 April, 2010

available from LUX

Over Magnetic Island 2:39, 2009

Over the Borough Island 1:52, 2009
These two videos were made for the third volume of the One Minute series curated by Kerry Baldry. Both videos layer sequences shot in a specific single location, each using a different formal technique, as a way of experimenting with representing spatial qualities of a landscape and the specificities of the place. The places could hardly be more different and distant from each other. Over Magnetic Island was shot on the island off the coast of Queensland, Australia and consist of superimposed pans of a view from an abandoned fort on the island, built during the second world war to guard Australia against a feared Japanese invasion. The soundtrack was also recorded on the island, on the walk to the fort. Over the Borough Island takes a similar approach but uses digital mattes from a static shot south along Borough High Street from a traffic island. The soundtrack consists of redacted directions home.

One Minute Volume 3 screenings
• Foyer Gallery Space, Hull School of Art and Design, October - November 2009.
• All BBC Big Screens, July- August, 2009
Project Gallery, Marseille, France, September 2009
Directors Lounge, Contemporary Art, Ruhr, Essen, Germany, June 2009
• The Big Screen, Hull, June - July 2009
Live at the Apollo, Herne Hill, London, June 2009
Art in Unusual Spaces Merrion Centre, Leeds Dec 2009 - Jan 2010
cogcollective, The BAck doOR @ suek-artist, Melbourne, Australia, 27 February 2010
Castlefield Gallery, Manchester, 25 March 2010

other screenings:

Melbourne Cinematheque, Australia, March 2011



Aboriginal Myths of South London 10:27, 2010 Aboriginal Myths of South London adapts world views associated with indigenous people of Oceania to an interpretation of the space and social history of places in South London. As the first manifestation of the project, this video is presented as its prelude and explores New Kent Road, a major road close to the artist’s home. This application of attitudes to the status of the dead and human relationship to the ground, becomes a materialist alternative to the concept of the genius loci and the familiar. The approach is measured and austere, employing an arrangement of animated photographs and voice texts that becomes a poetic essay.

Off and Free Festival, Seoul, Korea, November 2011
Alchemy Film and Moving Image Festival, Hawick, Scottish Borders, October 2011
Maelfa Screening Programme, Spike Island, Bristol, March 2011
Melbourne Cinematheque, Australia, March 2011
Australian International Experimental Film Festival Melbourne, Australia, May 2010

Directors Lounge Urban Research, Berlin, Germany, February 2010

Olsen Leeds, UK, February 2010

available from LUX



Personal Electronics 25:51, 2010
Personal Electronics is an experimental documentary tracing the experiences of victims of phenomena associated with electronic harassment (such as gang stalking, directed energy weapon attacks, voice to skull transmissions, and so on), using material found on the internet. Personal Electronics was first manifested as a spoken word and video performance.

Intermission, Melbourne International Film Festival, Australia, August 2008
more information at Direct Objective

Australian International Experimental Film Festival, Melbourne, Australia, April, 2011

available from LUX